本文關(guān)鍵詞：羅西里尼歷史人物影像研究　出處：《山東藝術(shù)學(xué)院》2014年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 羅西里尼 歷史人物 電影觀念 跨類

【摘要】：意大利新現(xiàn)實主義運動成功的將意大利電影推向了世界電影的舞臺,而這場運動的領(lǐng)軍人物——羅西里尼,在新現(xiàn)實主義運動之后出現(xiàn)了創(chuàng)作轉(zhuǎn)向。羅西里尼的創(chuàng)作轉(zhuǎn)向和當(dāng)時意大利的社會文化環(huán)境密不可分。意大利文化界在紛亂的社會背景下依然持續(xù)著發(fā)展,60年代適時出現(xiàn)的大眾文化及新媒體改變了意大利舊有的文化氛圍。特別是電視的出現(xiàn)給意大利的媒體環(huán)境注入了新的活力。與此同時,電影的生存環(huán)境也悄然發(fā)生著改變。好萊塢的暫時衰落給了意大利電影以發(fā)展的機遇,此時的意大利電影更多的傾向于技術(shù)化、商業(yè)化的創(chuàng)作。在以上社會、文化、電影等環(huán)境的影響下,羅西里尼對于新現(xiàn)實主義理念及當(dāng)下電影的現(xiàn)實環(huán)境有了更加清醒的認識。他將電影觀念的現(xiàn)實性和歷史性共同注入到創(chuàng)作中,探求歷史上思想家們的足跡,用歷史來映照當(dāng)下。 人類歷史長河豐富多彩,羅西里尼選擇拍攝的歷史人物皆是為人類有過巨大貢獻的思想家、政治家。他的選擇必然帶有主觀性,這些歷史人物無不生活在歷史變革的節(jié)點上,他們通過不斷的反思和探索來尋求對于自身及世界的認識。將羅西里尼所選取的歷史人物進行分類,可以看出,作為銀幕形象的歷史人物,羅西里尼更加傾向于其不同生命階段的展示以及生活內(nèi)容的表現(xiàn)。這些歷史人物的言行共同構(gòu)成了影片的思想內(nèi)涵與敘事發(fā)展的動力。在展現(xiàn)歷史人物的環(huán)境空間時,自然景物和作為人文環(huán)境的配角們有機的展現(xiàn)出來,他們同歷史人物的言行一道共同構(gòu)筑了歷史人物的實存空間。羅西里尼有著明確的電影理念及對于電影語言的獨特看法。這不僅表現(xiàn)在中近景、長鏡頭及剪輯手法的選擇和運用上,還表現(xiàn)在組織、統(tǒng)籌畫面的場景調(diào)度的手法上。此時,我們既看到歷史人物的復(fù)活,也看到電影大師的回歸。 羅西里尼的歷史人物影像的拍攝歷程正值西方文化轉(zhuǎn)型期。作為第一位進入電視的電影精英,羅西里尼將人作為時代的主體,更多的以人文關(guān)懷和人文價值理念為主導(dǎo),他的文化精英式的思考更多的背負著略顯沉悶的道義感和社會責(zé)任感。同時,他的精英意識為歐洲電視增加了文化的力量。羅西里尼以文化普及的姿態(tài)進入電視,使得精英意識在電視上產(chǎn)生傳播效應(yīng)。這不僅表現(xiàn)在對于傳統(tǒng)文化的重構(gòu)和再生價值,也表現(xiàn)在其在電視傳播上的創(chuàng)造力與影響力。就電影樣式而言,與經(jīng)典的紀(jì)錄電影和故事相比,羅西里尼的歷史人物影像具有故事片—紀(jì)錄片之二分法之外的跨類型特征,他為電影的形態(tài)探索提供了更多可能性。
[Abstract]:Italy New Realism Movement the success of the Italy film film to the world stage, and this movement leader Rossellini, after the new realism movement created the creation of Rossellini steering and steering. At the time of the Italy social and cultural environment are inseparable. Italy cultural circles in the chaos of the social background is still ongoing the development of popular culture and new media in 60s changed the old Italy culture. Especially the emergence of television has injected new vitality to the Italy media environment. At the same time, the film environment is also quietly changing. Hollywood temporarily fading to the Italy film development opportunities at this time Italy film is more likely to be technical, commercial creation. In the above society, culture, environment impact of the film, Rossi. Nei has a clearer understanding of the new realism and the realistic environment of the movie. He injected the reality and historicity of the film concept into the creation, explored the footprints of the thinkers in history and reflected the present with the history.
Human history is rich and colorful, Rossellini chose to shoot the historical figures are for human had great contribution to thinkers, politicians. His choice with subjectivity, these historical characters live in the node of historical change, they through reflection and exploration to seek for the understanding of themselves and the world. Rossellini will be selected the historical figures are classified, can be seen as screen image of historical figures, Rossellini more inclined to the different life stages and display contents of the performance. These historical personages and constitute the dynamic and narrative film connotation development. To show the historical figure of the environment space, as the natural scenery and the humanities the stooges organic show their characters and history together to build a real storage space of historical figures . Rossellini has a clear and unique view for the concept of movie film language. This is not only reflected in close range, selection and application of long lens and editing techniques, but also in the overall picture of the organization, the scene scheduling technique. At this point, we can see the historical figure of the resurrection, also see the return of movie master.
The historical figures of Rossellini's image shooting course as western cultural transformation. As the first to enter the TV movie elite, Rossellini as the age of the body, with more humanistic care and humanistic value oriented concept, thinking of his cultural elite more burdened with a slightly dull sense of morality and social responsibility. At the same time, his elite consciousness as the European television to increase the cultural power. Rossellini entered the television to spread cultural attitude, the elite consciousness produces propagation effects on TV. This is not only reflected in the reconstruction and regeneration of the values of traditional culture, but also in the TV on creativity and influence. The movie style. Compared with the classical record movies and stories, different types of features beyond the dichotomy of historical figures is Rossellini image story - the documentary film, he More possibilities are provided for the exploration of the form of the film.

【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

【參考文獻】

相關(guān)期刊論文 前2條

1 吳江;意大利電影大師羅西里尼談電視[J];當(dāng)代電視;1989年Z2期

2 胡承偉;羅西里尼論電影[J];電影藝術(shù)譯叢;1979年01期

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本文編號：1426716